EBS_freak

The Hofner looks much better for starters!

They are in the list on page 1!

You fell for the VAT trap. They are £720. Again, can't tell you anything about how they sound as I haven't heard them and you can't tell anything about how IEMs sound from the stats that you have posted. You get a lot of drivers for your money though! (And you would be in good company with Matt Goss (yup, I did spot his on the Bros documentary. I do the IEM spotting thing...)) I'd have to listen to them to comment on how good they are really - but looking at the frequency response graph, they've certainly been tuned with a sub bass freak in mind (although how big that kick is meaningless as there's no scale on the y axis). The only risk I would say its that they could give up definition in getting those big lows. Again, you would have to trial them. I call out the risks of adding drivers in the opening posts but I couldn't say either way if Cosmic are boss with their tuning, phasing and crossover design or not as Ive never had a pair in my ears.

Or are told they don't need a tweeter... instead of listening to what their ears are telling them (or looking at the old gear that their heroes are using) and deciding for themselves!

+1. There's a big misunderstanding that tweeters are only for tap and slap. Without them, there's a lot of harmonic content being lost!

Id take the UE6 over the JH7 for bass. I’d take the JH11 over the UE6. Can’t speak for Alclairs, never listened to any to judge. CMVK is good from a headroom point of views by the looks of things - but driver count without proper tuning can sound like and out of phase trashy sound. So until I heard one and tested it, that’s pretty much all I can say. They may be great, they may be not. And of course, what you like may not be what I like!

If it sounds right, it's right. Assuming the OP is in an ambient ensemble...

So as I said - user error! Its like anything, bad technique needs to be unlearned - whether it's singing or playing. IEMs aren't the problem - and I'll defend that to the cows come home. It's how they are implemented/used. I will add into the conversation though, people that compress their vocals in their IEMs need shooting - as that does impact the way that you sing as you lose all sense of dynamics... and even with correct mic technique, if you start messing with dynamics, the singers ability to sing naturally will be impacted.

User error! 😛

I’ve no direct experience with that pedal - but if you are looking at thickening your vocal, the tiniest bit of chorus and saturation courtesy of the xr18 will work wonders. Saturation on vocals to add harmonic content is a very much underused trick in the book!

We don’t need to take it out in the carpark... we’re groundhog buddies. 🙂 I get where you are coming from - bleed is bleed though, no matter how loud the band. And of course, if you are playing in venues where you are standing on top of each other due to the lack of space, the techniques I describe all help. You’ll never get people complaining at a gig about non studio quality vocals - but you will feedback. Maybe it’s my ears but I never hear enough warmth and low end in vocals unless the singer is “on” the mic. Anyway, just throwing it out there what I do. Experiment and see what works for your setup. There’s no right or wrong (within reason) when it comes to mixing. If it sounds good, it good. I should probably mention that the best thing you can do to improve your vocals, is to go onto IEMs. Helps people to pitch without resorting to the crutch of a pedal. If people have confidence in their pitch, they tend to sing louder - and that’s better as you don’t have to run the gain so hard.

And here was me going to recommend a mile long speaker cable to the cab that has been positioned away from the neighbours...

Thought I would add the reasoning in the post above!

Ha ha, very opposite advice to the one that I just posted! Keeping your lips on the grille increases the bass in your vocal - which prevents vocals from sounding thin. You can EQ out excessive bottom end. The louder you sing and the closer to the capsule you get, the less spill from other instruments. Less spill, the better the band will sound - keep the cymbals, and amps out of the vocal mics and you'll have a better sound and less problems with feedback. You may want to gate off backing vocals to assist with this... although you never want to gate the lead vocals. Mic choice can also aid - Audix for example are ace at off axis rejection... but conversely will punish you if you sing off axis and your mic technique is poor. Windscreens (the foam) are generally for use outside where wind noise can be picked up by the mic. Pop filters are usually the domain of the studio and used with more sensitive condenser mics where there is a larger space between lips and capsule. Just my take on it anyway!

Less is generally more. Compression on vocals, for a lot of people, is more hassle than it's worth because, as mentioned, due to the increased chance of compression. In short, if you do use compression, take it easy, especially on the make up gain. Also, you will need to have got rid of the hot nodes in the room - so a 31 band EQ on all the outputs (monitors and for speakers) is pretty much essential. If you are on an analogue desk, this is a lot of extra kit to be carrying around. Reverb - works but you ideally need to cut the low end reverb... and the airy highs - the "Abbey Road" reverb if you will. Again, switch if off between songs - and be wary, too much adds muds. Realistically, you should turn it up so that it's just perceivable, and then maybe knock it back the tiniest bit. Too many people flood the vocals with reverb and it completely kills it. Listen to your fave music - and you'll tend to find that the vocals are a lot more dry from a reverb front than you would think. More often than not, a delay is preferable... HOWEVER, if you do use delay, it needs to be beat matched... so prepare to tap tempo - or better still, have somebody else control the delays from the desk (tapping tempo). If you are playing to tracks, it's easier because if you tap accurately enough, the tap will stay in sync for the average song. Even better is if you can sync to a midi clock to control the delay rate. In reality, what will do you best, is keep it simple! Get your EQ sorted - and sing in tune. And above all, get your mouth around the mic. The more your lips are on the grille and the louder you sing, the less issue you will have with feedback. That last tip will trump anything you can do on the desk or fx etc.

Isn't pancake a modulation - or pan - plugin as opposed to a multi band ?

It turned out OK in the end though - despite the ball ache, I got the pay out in the end and now sporting some IEMs that I prefer the sound of. But as I say, I would wager most people would not have got the same result.

Agree in most part. I've been on the wrong end of a claim - where a 2k set of IEMs went missing... they were never found. They got to Florida airport and then went missing in FedEx's secure compound. I'd paid the postage and insurance - which cost over £100. It probably cost me 30+ hours of time (that obviously I don't get paid for) to get the claim resolved in my favour and paid out. They stock up everything against you to avoid a successful claim, more so than an normal insurance claim. The documentation and links aren't readily available. They demand information with deadlines on time to respond other wise the claim is null and void - yet when it comes to them responding to me, there is no SLA. It's all in the T&Cs but this is where it all gets interesting. The problem is, is that you aren't dealing with an insurance company - you are dealing with a self regulated claims department in a courier company - and in that case, my contract was not with FedEx. It was with Parcel Force that had subcontracted to FedEx. Parcel Force said I needed to take up the matter with FedEx. I refused. I did not have a contract with FedEx. FedEx said the value and nature of the item meant that it wasn't covered by their insurance. Then all of a sudden, the IEMs became re-classed as a musical instrument in their attempt to invalidate the claim. You can imagine the fun and games. They were then saying that the IEMs had no value because they were custom made for me and they had no market price. Then the claims handler went on holiday for a fortnight... and nobody would respond to emails... and if I answered the phone, I would tell the claims number and then they would just put me on hold - with no intention of dealing with the claim. It took a solicitors letter to get that claim resolved - at further expense. I am convinced that if that solicitors letter had not have landed, they would have fobbed me off until I lost my mind and gave up. Couriers. * sigh *

You think that anybody in the position to act upon this sort of thing cares enough to do anything about it? The only way this would get traction is if 100 odd people wrote to watchdog. The thing is, that sentence, for the vast majority is believable... only in my case, I know 100% that it is false. Of course, it would be up to me to prove so... and how do I do that when I haven't got access to the usage logs from the servers that are generating the logs. I would have to do a personal information request to pull all that detail... and what would the outcome really be? I'm not going to get compensation - because I have not lost anything. So if I am not out of pocket, what am I really complaining about? A false statement that has no consequence? All it does is cause me to question their scruples. And they probably don't care what I think about them anyway.

https://www.ninetribe.uk/products/gator-cases-retro-series-vintage-amp-rack-case-2u-black-grretrorack2bk That price can't be serious, can it...? And decent cab maker would do you one for cheaper - with the option to customise. For example - https://www.zillacabs.com/head-shells - scroll down to rack

There's all sort of shenanigans going on at the moment. Let me show you an interesting paragraph from an email I had from TalkTalk. So yeah, given the pandemic, I could totally get with that figure... but the property in question has been unoccupied, with the router unplugged for the last year.

Jeez HJ - are you the Unabomber? Attention to detail, lonesome in the wood, little cabin... I'm scared.

jeez, you’re a dog with a bone aren’t you? please reread what I said. I understand the insurance terms - I just don’t agree that they are fair. And you can insure the same risk twice - just don’t expect to get the pay out twice. Google “double insurance”

This is a great hack that not enough people know about. Mind you, most people wouldn't know how to split channels and delve into the realms of limiters! I do similar but with two desks, where the audio is shared using Dante. One desk for foh, one for monitoring. You can do do similar natively with the X32 and say a M32C - although you would have to think about the patching of your physical outputs from the core back to your M32 because of their stupid block of 8 I/O implementation... so you may be better off getting a pair of X32s with all the IO attached to the individual desks as opposing to patch them all virtually. More expense - but gives you more channels to play with obviously. Anyway, I digress - your split approach is doing it right and (I can't remember if you can pass through EQ to auxes off the main as it's been a while since I've used an X32) but will give you the ability to EQ your instrument independently from your FOH for your monitor mix... instead of being limited to the one global EQ for your monitor aux.